Six loudspeakers are allocated in a room. The first speaker directly plays a sound-composition (original source) from tape/computer. In a certain distance above the speaker (about 30 – 40 cm) there is a microphone which records the sound from the loudspeaker. This microphone-recording is directly played from a second loudspeaker. Above the second loudspeaker there is another microphone, its recording sound is played by a third loudspeaker and so on... This system is continued uo to a sixth loudspeaker (see on the sketch).
This recording- and playing-system contains in each phase a certain "part of space acoustic" caused by the distance between loudspeaker and microphone. This "part of space acoustic" and the music coming out of the loudspeaker changes the sound in each phase: a sound-process in six different levels is created. The whole sound-process that physically happens one after the other – that means in a time progression – is experienced in the installation as simultaneously. The music can be heard simultaneously in its different sound-colourings. A visitor of the installation can walk through the loudspeakers and experiences the total sound in a spacial differentiation.
In the performance-version the relationship of the single öoudspeaker-volumes and the impedance of the microphones is regulated in a live-mix.
As a pure sound-installation a pre-mixed version can be played via a 6-track sound dystem. Therefor the microphones are not needed, only the six loudspeakers.
Sound material of the composition
The basic sound of "Parcour II" are various acoustic situations of the "Christians-Church" in Hamburg, Germany. Several sound-recordings inside the church are mixed with some other secret sounds which are hidden in some places.
Thinking about music and sound you find some transcedental questions about beginning, duration, dimension and ending. I have been collecting endings. "Endings" – that means the very last tone, the last chord of a music piece where there is no more context of rhythm and melodics – just the compacted substrate of the piece, detached from its body – just the pure sound.
What appears behind an ending?
The focus of the sound-installation "Parcour II (Enden)" is on the moment when music stops duration and its endings transform into a simutaneity of a spacial sound-process.
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